Tag Archives: the book thief

The delay in me typing this up comes from the fact that there are still a few major films from 2013 that I have yet to see – American Hustle, Her, Inside Llewyn Davis, The Secret Life of Walter Mitty,The Wolf of Wall Street (though I’m thinking I won’t see the latter due to excessive sexual content). That being said, I wanted to go ahead and tackle what I have seen before too much of 2014 passes, so just know that, if I see these films and find them worthy of this list, I will update it and let you all know.

2013 was a pretty great year for me. I saw more films than ever before, largely due to my involvement in The MovieByte Podcast with my friend TJ. If I totaled everything correctly, I saw 40 new films this year in theaters, so this list is drawing from a pretty wide selection.

An important note: this is a list of favorite films, which may conflict with my ratings. My ratings are usually based on a combination of both quality and enjoyment, whereas this list will mostly be based on enjoyment with quality mixed in just a bit. Click on the titles to see my reviews for each film. With that said, let’s get started with number 10:

After the mediocre first Thor film, I was hoping for a much better second film, which we thankfully got in Thor: The Dark World. Chris Hemsworth is an excellent Thor, made better by the fact that we’re not establishing an origin anymore. Tom Hiddleston’s Loki continues to impress as well, this time as an ally, bringing an interesting twist to the character and allowing for a fun and occasionally potent brother-to-brother relationship. Brian Tyler’s score is just as fun as the movie itself, and Christopher Eccleston’s villain Malekith is appropriately menacing, if a bit vague in intention.

I love Disney films, especially musical ones, because they remind me of my childhood, when The Lion King, Beauty and the Beast (my review), and Aladdin were supreme. Frozen reminds me of those 1990s Disney movies, but this time with a nice twist at the end – which I won’t spoil for you. The voice cast is incredible here, namely Kristen Bell as Anna and Josh Gad as Olaf the Snowman, with Idina Menzel’s “Let It Go” set to be a surefire nominee for Best Original Song at this year’s Academy Awards – and, I’ll call it now, it’ll win too. The animation is beautiful, the story is touching, and you’ll walk out whistling the songs, wanting to watch it again and again.

This film is difficult to rank because, while it’s certainly a 5-star film, it’s also difficult to watch. Chiwetel Ejiofor gives an Oscar-worthy performance as Solomon Northup, a free black man who is kidnapped and sold into slavery for twelve long years. The film covers his incredibly painful time spent on a plantation in Louisiana, where he meets good people, bad people, and fellow slaves who are also struggling for their lives. Director Steve McQueen doesn’t shy away from the harsh truths of slavery and how brutal the slave owners often were, making this film exceptionally powerful and a must-watch – if you can stomach it.

I read Orson Scott Card’s classic book in anticipation of this film, so it was fresh on my mind when I walked into the theater. As expected, the book is much better and much of the content in the film is watered down, but that doesn’t stop the film from being pretty excellent on its own. For the most part, it keeps the themes of morality and unnecessary violence intact, and Asa Butterfield as the eponymous Ender does a fantastic job of capturing the character, from his calm control in stressful situations to his intense emotional outbursts upon the realizations of what has happened to him. The visuals in this movie are gorgeous, with scenes from the book, such as the armies in the Battle Room, flying right off the page in a great way.

I also read Markus Zusak’s The Book Thief before seeing the film based on it, and many of my criticisms are the same as for Ender’s Game in regards to the watering down of content and such, but that doesn’t stop this film from being an emotional punch to the gut. Sophie Nélisse is outstanding as Liesel Meminger, as are her parents, Geoffrey Rush and Emily Watson. The period setting of the film is well-done, and John Williams delivers as intimate and beautiful a score as ever. Bring a box of tissues for this one…maybe two.

In this film, Tom Hanks has the best performance of his life…for, what, the fifth time now? Man, he continues to prove that he’s one of the best actors out there. Captain Phillips tells the true story of how Somalian pirates attacked the Maersk Alabama but were thwarted by Captain Richard Phillips, who not only protected everyone on board with his actions but also offered himself as hostage to continue that protection. Barkhad Abdi plays the lead pirate, who isn’t portrayed as a bad guy but rather as a guy forced to do bad things due to unfortunate social circumstances. There isn’t a bad guy here, not really – at least, that’s not how the film portrays the pirates – but there is simply reality and suspense that rises from it. The long run-time never feels too long as you are caught up in the action from start to finish, and if Tom Hanks doesn’t win the Academy Award for Best Actor, it’ll only be because he lost it to Chiwetel Ejiofor.

Emma Thompson shines in this historical film about the making of the 1964 Disney film, Mary Poppins, based on the book series by P. L. Travers. Thompson’s portrayal of the stubborn author is both quirky and humorous, but it’s also heartbreaking in her remembrance of moments in her childhood that inspired her books. Colin Farrell plays her father in these flashbacks, juxtaposing a happy-go-lucky father with a down-on-his-luck drunkard, giving us insight into Mary Poppins and the Banks family that I was not previously familiar with. Tom Hanks plays an admirable Walt Disney, even if his performance doesn’t convince me enough that I am watching Walt himself rather than Hanks playing him. Still, the charm of the movie as a whole as well as Thompson’s performance knock this film out of the park. (You should probably bring tissues to this one as well.)

I had a self-imposed boycott on Tom Cruise’s films for quite a long time, but since lifting it for 2011’s Mission Impossible: Ghost Protocol (my review) he has quickly become one of my favorite actors. His performance here is great, as is Andrea Riseborough’s performance as his partner, but it’s the themes and questions raised by the film that bring Oblivion so far to the top of my list. Themes of asking questions, seeking answers, and the thirst for knowledge vs. the fear of knowledge are brought to the forefront, and, for some reason, it really resonated with me. The script is smart, Tom Cruise is as great as ever, and the score by M83 is energetic and fun, in the same vein as Daft Punk’s score for TRON: Legacy (my review), which was directed by the same man, Joseph Kosinski. This film not only shows off Tom Cruise’s continuing capabilities as an action star, but his talents as a dramatic actor as well.

As far as book-to-film adaptations go, 2012’s The Hunger Games (my review) was one of the best I’d seen, but it still had problems. Director Gary Ross’ replacement by Francis Lawrence for the second film seemed worrying at first, but it seemed to pay off. Not only is Catching Fire a better film than the first one, but it’s also a better adaptation of its book counterpart, which is hard to believe. In fact, if I may be so bold, I think that I enjoyed the film more than the book, at least as far as the opening scenes involving the Victory Tour go, which I know is probably blasphemy. Jennifer Lawrence is surely one of the best actresses out there today as evidenced by her continued terrific performance as Katniss Everdeen. The stakes of this film are higher than in the first, and the character development is even better than the already-good character development of the first film. The shaky-cam is gone in favor of better choreographed action scenes, and, in fact, nearly every aspect of the first film is improved upon this time around. This is an excellent film whether you’ve read the books or not.

If you didn’t catch this film in theaters, I’m sorry. You missed out. Maybe they’ll bring it back for a few extra showings before the Academy Awards, in which case you should buy a ticket as soon as they’re available. Though this film is great all-around, from the performance of Sandra Bullock to the music by Steven Price to the brilliant visuals of space, the real thrill comes from the thrill of total immersion. You seem to experience everything that Bullock’s character experiences, from spinning around in the vacuum of space to the rush of being trapped in a shower of incoming deadly space debris. The theater experience makes an already-great film even better by involving the audience fully in the action and atmosphere – or lack thereof – of space.

I love, love, love this film. Love it. I caught an early screening about a month before it reached theaters and subsequently paid to see it twice more. I purchased it on Blu-Ray the day it became available and have watched it three times more since then, and I have yet to tire of it. The Way, Way Back is a coming-of-age film about Duncan, played by Liam James, who is the most perfectly, believably awkward person I’ve ever seen onscreen, which is exactly how his character should be. The growth of his character throughout the film is equally fun and touching, contrasted by Steve Carell’s portrayal of Duncan’s awful stepfather, a role refreshingly atypical of Carell’s usual fare. However, the standout performance in this film is that of Sam Rockwell as Owen, a local waterpark owner who befriends Duncan and helps him to make his summer one of the best of his life. Rockwell brings many laugh-out-loud moments, but he also brings the most poignant moments of the film. The moral is great, and the ride is a great one. I don’t think I could possibly over-recommend this movie.

Well, there you have it. Do you agree or disagree with my list? What were your favorite films of 2013? Sound off in the comments – I’d love to hear your opinions.

More and more often, as books are being adapted into movies for the big screen, I find myself reading the books before I see the film, a habit that I had as a child but dropped as I grew older. When I read Markus Zusak’s The Book Thief for the first time, I was completely absorbed; the writing was beautiful, the characters were fantastic, and the combination of setting and plot was heartbreaking. The end of the book destroyed me emotionally like no book has done in quite a long time…needless, to say, I had high hopes for the film adaptation. Could they successfully adapt such an incredible book into an at least decent film? The critical rating over on RottenTomatoes.com had me worried, but, rest assured, I can personally attest to the fact that this film is much better than the critics would have you believe.

The Book Thief begins in 1938 and tells the story of Liesel Meminger (Sophie Nélisse), who, at the start of the film, is on a train to Molching, Germany with her younger brother and mother so that she may be fostered into the care of Hans and Rosa Hubermann (Geoffrey Rush and Emily Watson, respectively) after the departure of her father. On the journey to Molching, however, her brother dies, and, at his funeral, Liesel finds a book, stealing it as a reminder of her brother, in spite of her inability to read. When she arrives at the Hubermanns’ house and her mother leaves, Hans begins to teach Liesel how to read, and she befriends a neighbor, Rudy Steiner (Nico Liersch). The Hubermanns lives change forever when a Jew, Max Vandenburg (Ben Schnetzer), arrives on their doorstep, seeking protection based on a promise made by Hans to his deceased father. The rest of the film tells of the growing friendship between Max and Liesel, Liesel’s increasing thirst for reading, and the survival of a poor non-Nazi family living in the middle of Nazi Germany during World War II.

The first thing I should say is that, though this is far from being perfect, it’s a decent adaptation of Zusak’s original book; I literally saw the film on the same day I finished reading the book for the first time, so everything was fresh on my mind, and there weren’t any changes made that really upset me. The film’s greatest strength in translating from the book is its casting. Sophie Nélisse is brilliant as Liesel, bringing to the role the appropriate naivety and innocence to a girl of her age during this time, but she also brings out the fierceness and determination of the character, ensuring that she holds her own against an actor as established as Geoffrey Rush. Speaking of Mr. Rush, he settles into the role of Hans “Papa” Hubermann so effortlessly that you’ll want him to be your Papa from the moment he first speaks. He successfully communicates all the different personalities shown by Hans in the book, from the kind gentleness he shows Liesel when she first arrives, to the determination exuded upon the arrival of Max, and the remorse shown upon revealing what danger he has put his family in by standing up to the Nazis. Emily Watson as Rosa “Mama” Hubermann makes the character as mysteriously multi-faceted as she appears in the book as well, with her outwardly rough, coarse behavior making her rare moments of vulnerability and intimacy all the more poignant and emotional. Though these three are the shining stars in this film, honorable mention goes to Ben Schnetzer as Max and Nico Liersch as Rudy, both of whom give excellent performances too.

The critical consensus at RottenTomatoes states that the film plays it too safe with its Nazi Germany setting, which I actually agree with. I generally do my best to not judge a book-to-film adaptation based on its quality/accuracy in regards to the book, but this particular adaptation, despite being a great film overall, is definitely a bit too watered-down. Many of the darker aspects of the book, such as Rudy and Liesel stealing, Liesel’s relationship to the mayor’s wife, Rudy’s rebellion against the Hitler Youth program, and the Jews being marched through town to the Dachau concentration camp, are either barely touched on or simply skipped over, providing the film with what I would personally consider to be missed opportunities. For example, the Jews are actually marched through town once in the film, but it is never explicitly stated what the purpose or final destination is; yes, it is implied and should not be difficult to figure out given the context, but the scene is so brief and only happens once, so it is difficult to take away any real emotion from the scene as presented in the film. In contrast, though, there is one particular scene that stands out to me as being particularly powerful. Liesel is standing and singing with the choir at her school, and the music sounds lovely in their high, sweet voices. However, captions across the bottom of the screen reveal the anti-Jewish lyrics being sung, and the camera cuts to scenes of Nazis raiding Jewish homes and taking the families away. It’s a sobering scene, with the juxtaposition of the innocence of children and the realities of Nazism.

Another complaint I have about the film is that I worry that some aspects weren’t explained well enough for non-readers to understand, namely the inclusion of Death as Narrator, as he is in the book. The book is told entirely from his perspective, which is why it works so well; I mean, who better to tell a story that takes place in Germany during World War II than Death himself? But it doesn’t work so well in the movie because Death’s narration only interrupts the story two or three times throughout the course of the film, and I mean exactly that – interrupts. If the film had involved him more throughout, it might not have been as awkward, but, unfortunately, that is not the case. Despite the awkwardness, I liked Death’s voice (Roger Allam), a notion that gives me goosebumps – how profound that the voice of Death be pleasing to listen to?

The best translation from book to screen would definitely have to be the final fifteen minutes or so of the film. I won’t reveal any spoilers, but it’s safe to say that you would be wise to bring a box of tissues. The incredibly emotional ending from the book is kept intact in all the ways that matter, bringing the film to a satisfying and poignant close.

I learned at an early age that you can’t walk into a film adaptation of a book you love and expect the same experience – each is its own art form and therefore must be absorbed differently, without comparison to the other. However, you do have to at least consider how good an adaptation it is, which is why I talk so much about how the film compares to the book here. In any case, though it may seem like I didn’t like the film because it wasn’t as good as the book, I really did enjoy this film for what it was. On the whole, it is a pretty good adaptation, albeit a bit watered down one, but when aren’t film adaptations of books watered down in some regard? The important thing here is that the film’s heart is where it needs to be; the characters are genuine, there are many wonderfully touching moments, the characters are cast and portrayed well, and the instrumental score by John Williams is phenomenal…even at the ripe old age of 81, he continues to prove why he’s one of the best in the business. The Book Thief is good, solid filmmaking and has my full recommendation.

-Chad

Rating: 4 (out of 5)

MPAA: PG-13 – for some violence and intense depiction of thematic material